The greenhouses where we shot are owned by a world renowned botanist based just outside Tucson. They're a little island, surrounded by Sonoran desert. It's two acres of succulents and orchids from all around the world. They're a threshold, bringing the larger world within reach, on an intimate scale.

The orchid house, especially, is warmer, fuller, packed with airplants and beautiful flowers. Kind of junglelike, but not claustrophobic because every time your eyes move over the space, they're pulled into these bright gorgeous colors and forms all hypnotizing you into their tiny universes. I feel Liza's songs do something very similar, bringing the sublime and the very intimate together with beauty and tenderness and patience

There's a rich and resounding interiority to her songs that unfurls into these larger and larger arrangements. It's so seamless, and I suddenly find myself somewhere else when the song is over. I get pulled in and lose track of time. They're magical in that way and I wanted to make the video feel magical too, a warmth and light emanating from all the little signs of life around her as she moved through the space. I wanted her to be woven into it, for that magic to be contingent upon her initiation, and so I decided to make a sequence where the flowers and plants would glow when she touched them.

The song takes off at the end, and I wanted the imagery to too, where a kind of collage of the essence of all these forms would transition into a completely new space. So I used footage from one of my favorite drives on tour while Liza and Owen Ashworth and I were playing a few shows together in the west. We drove up from Albuquerque into Denver, passing though essentially a seven hour transition zone from desert into a huge mountain valley. It takes all day, and cell service is bad and there's no where to stop and you watch these super wide mountain ranges slowly creep in closer and closer until you wind right through them to drop down into Denver. I layered, with hand held video, stretches of these mountains over each other, so they'd move and shake, becoming object-like while still maintaining their scale as the song opens out into saturated layers of loops and distortion.